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campanile

THE ARMENIAN MONASTERY, SAN LAZZARO, VENICE

San Lazzaro island was the city’s

leper colony until the Doge

gave the Armenians sanctuary, no doubt

to annoy the Turks. An antique engraved print

of the monastery, which occupies

the whole island, hangs on the wall above

the small table I use for my laptop.

The monks did the engraving and print.

Their library is Alexandrian in scope.

 

Gordon Lord Byron, escaping the

blandishments of Shelley’s sister-in-law,

took an apartment on the Grand Canal,

in the Palazzo Mocenigo-Nero,

with his attendants – including dog, fox,

wolf and monkey – for two hundred pounds

a year. As always bored and curious,

he visited San Lazzaro, learned

Armenian and helped with translations.

 

The second book of poetry I owned was

a hand-me-down, leather bound, well read,

complete works of Byron – my mother’s father’s.

He was dead of a heart attack years

before my birth: Welsh, from Swansea, bit of a

bully, a whisky drinker, a bibliophile,

a bombardier badly wounded at Mons,

a Post Office Telegram Manager,

a travelling classified ads salesman.

 

I have the other books that survived his

middle daughter’s arson of this auto-

didact’s library:  BP’s ‘The Matabele

Campaign 1896’, ‘The Greatest

Show on Earth,’ ‘The Makers of Florence’, Wilde’s

‘Salomé’, with the Beardsley graphics, a first edition,

‘The Story of Atlantis.’ Imperialist,

circus master, aesthete, voyeur, dreamer,

he died in a boarding house near Altrincham.

 

We caught the 15.10 vaporetto, watched

the white campanile with its onion

cupola draw near. The boat slowed, rolled

in the swell, engines into reverse

with a roar of gears. The tour encompassed

printing press (‘per souvenir’), church, library.

In one corridor, I smelt meat cooking, glanced

through an open window. In the kitchen yard

below, the monks were playing 5-a-side.

 

 

 

ADRIFT

Where part of the back wall of the scena

of the Greco-Roman amphitheatre

has collapsed, we can see the sun setting

on Etna, its smoke drifting like a veil

over the sea. The town’s orchestra –

of mandolins, lutes, guitars, double bass –

with its plangent, sentimental, heart-

rending timbre plays the prelude to act one

of Giuseppe Verdi’s La Traviata’…

 

We saw the opera at the Bolshoi –

with its gilt chairs and the Romanov box

with the hammer and the sickle above –

the month Vladimir Putin was first crowned.

When we left the theatre in the soft dusk

of May there was a babushka begging.

In the Lubyanka metro station,

a drunken man rolled down the escalator…

 

As Venus appears in the south east,

the orchestra plays encores – ‘Volare’,

‘Torna a Surriento’, ‘Ritorna-me’.

The audience, mostly local, largely

female, sways and hums, secure, for that moment,

in its campanilismo, thinking of amore

 

Small boats are approaching, in the thickening

dark, from North Africa and the Levant,

chartered by men – vessels overladen with

women and children, craft whose landfall, whose

free fall will set tolling each and every

bell in the frantic campanile.

 

 

A DEFINITIVE HISTORY OF VENICE

PIAZZA DI SAN MARCO

 

After the sky has shaded from indigo

to sepia, when swifts have gone and pigeons

roost in the crepuscular arcades,

when the Basilica’s looted bronze horses

are illumined – where Rossano Brazzi

and Katherine Hepburn failed to meet

at any one of the five cafés in

Napoleon’s ‘most splendid drawing room

in Europe’, where Proust (holidaying

at the Danieli with mother) corrected

his translation of Ruskin and criticised

the risotto, where Casanova

evaded the watch – then the eclectic

clock tower, the three, competing string orchestras,

and the melancholy campanile

accompany gratis a young man, alone,

masked, waltzing on the marble pavement.